Felting

Felting is done when animal fibres are separated, tangled and relocked. In wet felting, tiny scales in the fibres are separated using heat (warm water or friction), and tangled again using various tools. Interlocking occurs when the fibres cool. In needle felting, the scales are interlocked using barbed needles.

Materials required:

  • Wool, natural fibres
  • Warm soapy water
  • Plastic sheet
  • Felting needles
  • Sheer fabric (like silk)
  • Flat spongey support

Technique:

a) Wet felting:

  • Arrange the wool or yarn and wet it with soapy water
  • Rub the wool until the surface grows thicker and more stable
  • You can also roll it in a bamboo mat
  • If using artificial fibres, a minimum of 30% wool content is still required
Wet felting process

b) Needle felting:

  • Arrange the wool in the manner desired
  • Poke the wool with the felting needles until structure is firm
  • This technique is suitable for both 2D and 3D felted works
Needle felting process (continuation from wet felting)

c) Nuno felting:

  • Arrange the wool or other natural fibres on the fabric placed atop the sponge
  • Poke the wool with the felting needles until structure is firm
  • The effects of different fibres on different background fabric can be explored

Nuno felting process

Applications include:

  • Making of very stiff object (like winter coats, boots and bags)
  • Delicate objects (like scarfs and accessories)
  • Mixing both properties to achieve intriguing designs
Felted fashion items  sourced from Pinterest

Personal reflection:

I do enjoy the long and tedious process of felting as the end result is somewhat unpredictable. The resulting textures on the back surface of nuno felting was a unexpectedly delightful as well. The soothing and warm tactility of woollen surfaces makes the process worthwhile and highly therapeutic! 

Fusing of Plastics

Fusing of plastics makes use of heat fusion, causing the materials to melt and be welded together. Properties of the original plastic also changes with the heat (i.e.  plastics shrink due to the realignment of the internal structure and the release of trapped air)

Materials required:

  • Iron
  • Baking paper
  • Plastic items (bags, bubble wraps, netting, etc)
  • Scissors

Technique:

  • Arrange the materials
  • Place baking paper on top
  • Iron over the baking paper
Fusing of pleated red plastic bags
Layering of netting and transparent plastic bag
Other explorations

 

Applications include:

  • making use of the waterproof qualities of plastic (e.g. raincoats, hats, bags) and sewn together like fabric
  • up-cycling and art-making
Applications of fused plastics
Tutorials available online

Personal reflections:

The fusing of plastics allow new forms of textiles to be made, and from it a meaningful design can emerge . This changed my impression of plastic as a wasted piece of disposable! It is as if plastic is a three-dimensional sheet of paint, fluid yet structural.

Touch and Print Field Trip Reflection

The trip to Touch and Print as well as the National Design Centre was highly intriguing and engaging. We were personally introduced to how transfer printing is done!

Through the presentation, we learnt about the differences between two types of surface printing:

Screen Printing Transfer Printing
Long set-up time Fast, digitally printed
Every colour matters (multiple stencils) Full-colour
Minimum quantity required No minimum quantity
Repeat prints are cheap and fast Consistent repeat prints, accurate

We were also lectured on laser transfer printing and witnessed first hand the demonstration on two T-shirts, one on a white piece and the second on a blue piece. They required different transfer papers by TheMagicTouch and the processes varied accordingly.

Laser Transfer Printing

Steps for the white shirt transfer included:

  • laser printing the design onto the paper
  • cutting out the design close to the borders
  • placing the design faced down on the shirt
  • applying the heat-press
  • quickly removing the transfer paper from the shirt
  • laying a baking paper over the transferred design and applying the heat-press once again

Other applications of transfer printing also include the incorporation of circuit boards unto fabric as well as deriving a circuit by etching away a metal surface.

Uses of Transfer Printing

 

Moodboard: Veins

Moodboard (Veins of leaves, arms and marble)

Keywords linked to veins:

  • Networks and connections
  • Fluidity
  • Translucency
  • Unpredictability (smooth and tortuous)
  • Protrusions

Techniques and materials to explore:

Water soluble stabiliser, sheer fabric,  nuno felting…anything organic.

Images were sourced from Pinterest.

 

Bleaching

Bleach contains hypocloric acid, a strong oxiders that attacks the  carbon bonds in the dyes of fabric.  The addition of chlorine or oxygen to the dye breaks the molecule, removing the colour.

Materials required:

  • Dark fabric made of natural fibre
  • Mask and gloves
  • Spray or brush
  • Bleach solution
  • Wear unwanted clothes

Technique:

  • Mix the bleach  with water
  • Lay the fabric in any pattern, or use stencils
  • Use a spray or brush to apply bleach
  • Stop the bleaching process by washing (the eventual result is white)
Bleaching process
Bleaching process: tying/folding/wrapping, immersing in bleach, washing in cold water
Bleaching results (clock-wise from top left: crumpled, spiral-folded, tied with rubber-bands, folded and clipped, accordion-folded and tied, wrapped around bottle

Applications include:

  • Multiple-step process whereby bleaching can be done in layers
  • “Adding” designs onto plain fabric through stencilling or tying
  • Giving new life to old clothes
Idea sourced from Pinterest
Idea sourced from Pinterest
Idea sourced from Pinterest

Personal reflections:

Bleaching and dying works in opposites. One removes and the other adds on. However, both results in beautiful effects we cannot predict and it is up to our control and experimentation. However, bleaching seems to be more constrained by the base colours.

Fabric of Thread

Making fabric out of threads uses a water soluble stabiliser which provides the temporary support in the making of delicate and mesh-like fabric. It also allows the resulting fabric to be moulded.

Materials required:

  • Sewing machine
  • Sewing pins
  • Water soluble stabiliser
  • Threads, yarn, fabric, strips, trimmings, nets, etc

Technique:

  • Arrange the materials between two water soluble sheets
  • Use pins to secure the materials
  • stitch using the sewing machine, starting from the edge
  • Wash in warm water to remove the membrane
  • To mould the fabric, stop washing once the membrane dissolves
  • Place the fabric over the mould to dry
  • When dried, spray with UV resistant clear acrylic spray
  • Beads and other embellishments can be embroidered on
Process of making fabric out of threads

Applications include:

  • The making of decorative objects, accessories and art works
  • Incorporation of natural materials (e.g. leaves and vines)
Bowls, scarfs, art found on Pinterest

Personal reflections:

It is fascinating to know that we can create our own fabric with our own preferred materials. It made me curious about what stabilisers are and did further research.

Upon researching, I found that there are indeed various types of stabilisers used in embroidery, lace-making, knits and others. The technique which we used provides temporary structure suitable for delicate and mesh-like surfaces. Designs can also be marked onto this soluble sheet as a guide. Basting around the design provides extra support.

Website, Water soluble stabiliser
Different stabilisers

 The website, Threads Magazine, also made a summary of the different stabilising methods available.

Summary of stabilisers

Museum Reflection

Upon entering the Modern Colony gallery, I was at first struck by the absence of plastics which are ubiquitous in today’s world. Also prominent was the elaborate, nature-inspired ornamentations incorporated into the designs of that era (1920s to 1930s). As we went through the displays accompanied by descriptions, we learnt that Europeans styles (e.g. Victorian, Art Nouveau) as well as their cultures were brought in through shipping, trading and the British colonial rule. The possession of these “modern” Western items were enabled by wealth and status.

Needlework samplers, Swimsuit with seahorse motif, Patchwork baby carrier, Cheongsam with balck binding and knotted buttons, Western frock with embroidery
Needlework samplers, Swimsuit with seahorse motif, Patchwork baby carrier, Cheongsam with black binding and knotted buttons, Western frock with embroidery

Cloth surfaces heavily feature illustrative and meticulous details (e.g. cross-stitch, embroidery), with the usage of motifs, floral patterns, lace trimmings, etc. Materials such as European, Chinese and Japanese silk damasks,  lawn and satin distinguished the various classes in society. A shoe embellished with gold thread and sequins can be contrasted with the simple black ones worn by domestic servants.

Silver mesh purses, Silver Cocktail beakers, Brass gramophone
Silver mesh purses, Silver Cocktail beakers, Brass gramophone

Metal surfaces also feature floral patterns which are usually embossed or printed on. Functional casings (containing wax or soaps) were observed to be made from tin, while decorative items (like cutleries, vanity sets, and mesh purses) were made of silver. Gramophones and sewing machines also utilised the durability and strength of metal.

Colonial-style centre table, Vanity box, Gramophone base, Porcelain flower pot pedestals
Colonial-style centre table, Vanity box, Gramophone base, Porcelain flower pot pedestals

Wood also tend to be decorated elaborately as exampled by the mother of pearl inlays on a teakwood vanity box and the intricately carved details on tables and chairs. It was often used to make supports, boxes or furniture. The choice of wood (e.g. teak, mahogany, bamboo)  reflects the materials easily found in those times. As for ceramics, floral ornamentations were incorporated unto the surfaces as well.

Conclusion:

The gallery gave us a glimpse into the lifestyles of the past, the origins of a particular surface and technologies available in those times. It also triggers thoughts about the values and stories each item possess. Some items were also a hybrid of both Western and Eastern cultures (e.g. cocktail shaker with dragon motifs, auspicious engravings). We can further appreciate the surfaces we see presently, and to dwell on how it reflects the current society.

Transfer Printing

Transfer printing techniques:

  • Dry Transfer with fabric crayons
  • Wet Transfer with transprint ink
  • Digital Print

Materials used:

  • Crayola Fabric Crayons
  • Kraftcolor Transprint Inks
  • Shiny polyester satin, T-shirt
  • Baking paper
  • Iron
  • Leaf veins (for indirect printing)
  • Paper cutouts (for textural effects)

Documentation of processes:

1. Drawing using crayons

Dry Transfer

Dry Transfer

 

2. Painting using disperse dyes

Wet Transfer

3. Digital Print:

Materials required:

  • Printing paper (The Magic Touch TTC 3.1 for Light coloured fabric and CPM 6.2 for non fabric hard surfaces)
  • Laser printer
  • Light coloured fabric  , plywood

Technique:

  • Laser print images
  • Cut out the whites
  • Heat-press unto surface with baking paper on top for about 20 seconds
  • Quickly remove the paper from the fabric
Heat transfer of digital prints on to white polyester fabric (Observed that the more synthetic, the smoother the application)
Heat transfer of digital print unto wood (Note: used home iron instead of the heat-press machine, sorry!)

Applications include:

  • customisation of products (e.g. painting own designs on a plain T-shirt)
  • corporate gifts (e.g. mass-printing of mugs)
Images of applications sourced from the internet

Personal Reflections:

Transfer printing was an engaging process! The experimentation and exploration stopped abruptly when the polyester was fully occupied with prints. 

The initial apprehension in trying a new technique gave way to joy and increased curiosity about surface design. Through the act of doing, we discover new styles, patterns and a world in which supposed mistakes can result in beauty.